#remember those interviews right. the interviews

[acid-ixx]

mea culpa (again &. again mini chapter)

tw: allusions to self harm, depression and suicidal thoughts. sensitive content ahead. this happens in between the end of chapter 3 and start of chapter 4.

if you were to describe the first few years at the manor, the first word that comes to you would be...

well, regret.

at every attempt, at every woeful request, and the rejection that follows. their distant stares, as if looking elsewhere other than you, or the way some wouldn't even acknowledge your name, or presence; it would've devoured anyone else's hope, would've been an already telltale sign that they had no interest in the likes of you.

invitations to spend time with them, to hopefully gain insights about their interests— just for that sliver of desire that somehow, someday you wouldn't have to constantly be on your knees, asking pleases in the sweetest tone a six year old like you could muster to a butler who had more important duties to attend to other than a desperate child wanting to spend time with their family.

when you lose something dear, you begin to desire that very same treasure lost. your mother is no more, her kisses were no more, her lingering touches long since disappeared.

it's only after a few weeks did the grief register within you. only then did the desire to recreate all those soft moments with her manifested into the threshold of your mind; clawing, hungry appendages that disguise itself as innocent ambition ready to hurt you.

all you simply wanted was to meet your father, to see him outside of camera flashes, or in news channels and interviews that only capture one part of him. you wish to see the man idolized by hundreds of civilians for his charitable actions, admired by thousands; a man who you were lucky enough to have as a father.

the very same man who, after having to take you under his care after news about your appearance sparked traction in media— was never in the same room as you.

and if he was? he'd be gone as soon before you could quickly greet him with a hello.

you remember those days, though. the first time where you'd get to pass by your... dad.

a lonesome afternoon, with a storm transpiring outside, the thick gusts of air and heavy rain thumping against the expanse of windows. it was only a quarter to six, yet the scene outside portrayed a sky far darker the shade of blue, and looked almost as if it was midnight. only the dissonant patterns of beating rain guides you to wander around listlessly with nothing to do; bored and delirious after a day of simply being... alone.

but the erratic noises didn't stop you from ceasing in your steps upon the sight of the man, standing in a room and looking out. his silhouette casting against the chandelier's orange light.

it was enough to stumble over, and do a double take at the man in front of you, only a few feet away, before coming closer to his distracted form to further take in his features.

how tall he actually was, towering over your impish, malnutritioned body like a wall. slicked, black hair, some strands loose and freed. his was more intimidating in person. gruff voice you've never once heard on tv, demanding control and respect. thick arms that contrast your sinewy ones, with veins that protruding from jagged skin; all hidded with fancy business suits and a charismatic smile that beckons your eyes to look upon his face instead.

he was handsome in person, more regal than the street thugs you've seen out the windows of your apartment windows. and, for a second, you couldn't believe that this was your father, standing in a room looking as if he could be painted then and there; your fingers buzzing to catch your hands on your sketchbook to draw every detail of the man in question.

your father, your dad, your papa that you've always marveled upon. now standing right before you like a statue concocted by a renaissance artist.

though the most important aspect of your father is his piercing blue eyes. brighter than anything you've seen before, yet duller than the bleak colors of the manor's wallpaper; gazing endlessly outside with no acknowledgement of the way you shake, or how the thumping in your

after one year of begging alfred to see him in person, you get to see him now on such an unannounced day.

yet you're happy all throughout. because he's here now and that's all that matters to the mind of tiny you, gasping and exhilarated to near tears.

fingers shaking, eyes never ripping itself from the man who's stripped you away of all words you wished to say.

it's as if he fits within the gothic setting perfectly. hell, even annunciating its splendor; the sharp edges on his face that are perfectly shadowed by the lack of illuminated, yellowish light, his stiff posture surveying the room, and muscled form speaking volumes of how much he truly acts as a pillar of support for the city.

safe to say his beauty was ethereal.

seeing him up close was far ever a better spectacle. you weren't just enamored; you were in every bit frozen in your stance, burning the memories of your first union with him into every crevice of your mind. dumbfounded, breathless, and buzzing with ecstasy of being face to face with a man your mother must've loved.

after all, he wasn't just one of the kindest souls to bless all of gotham, he was more than that. he was, in most important of details, your father.

a father you haven't seen, nor met, in the first years of your life.

yet those same eyes squint at something, anything else, and never once looked down at you, who modestly tries to pull at his loose house wear to capture his attention after moments you were locked in place. too small, too stubborn and young to understand why his gaze never wandered below and kept to his thoughts instead.

"papa!" you call out to him in a high pitched voice with a wide smile, trying your best to overpower the sound of the raging storm outside. your actions prove fruitless, yet you still attempt to make him snap out of his trance, jumping and shivering in near childish excitement.

and this was all you needed: a single grunt in response was enough to make you all the more feel ecstatic. it washed away your prior somberness at the weather since you're unable to play in the garden, and was replaced with overpowering fulfillment to a single noise he produced.

it never once crossed your mind that the grunt you thought he reciprocated wasn't acknowledgement of your actions.

no, it was merely him seemingly too preoccupied at the thought of his dead son; mind lost, and with no direction to take other than the grief that's still instilled into the pools of his deep, blue eyes.

it never once occurred to you how he hasn't looked down at all, or heard the wispy intonations of your voice blending into the faint, whimsical tune of jazz music that does the least to ease the pain eating away at his chest every time he's given a moment alone to ponder ever-so deeper into his current world of worries.

a world where you don't exist, and you've never once come to realize that until it was too late.

whilst you were busy admiring every side of your father, the good and the bad, you were ignorant to the unforeseen implications of how he never reciprocated the love you've shown him that faithful day; forgotten and buried under lonely silent walls and echoing halls that could only echo a figment of your voice.

when he had left the room and you to find tim, you were left to your own devices once again. yet at that time, you simply bounced with joy and jumped to the nearest couch, allowing the delusions of an improving life shackle you to the deepest of regrets after.

and despite everything, the manor was colder still. and it is cruel and unforgiving to a child like you.

others would've given up, others wouldn't even try so hard after the first failed attempts.

but you? you just weren't them, and you continued trying, one after the other attempt all failing miserably; your first mistake, yet never the last.

it went on like that for 13 and a half years.

these occurrences where you thug at the fabric of the adults roaming around the hallways, only to be ignored or downright rejected. dick broke his promise about visiting your room a second time, but you still chose to bother him every time he comes to visit for anybody but you, tim was no better and preferred to keep his space all for himself; accustomed to the life of a being a single child and preferring it that way, alfred had butler duties, and secret identites he had to tend to every night, and your father was... just that.

thirteen.

an unlucky number in some cultures, a number that was too long when translated in the language of time.

a decade, and nearly a half spent trying and failing. even then, everything you do amounted to nothing. every sweet smile, every baked treats long discarded in the bin, every longing gaze, and effort to set about physical affections for people who were more like strangers to you than family.

strangers under the same roof, living and thriving whilst you wait for admission to be accepted into their comfortable circles and inside joke that raptures from their luminous eyes.

you remember every single moment you had when you were in close proximity with your siblings, and the moments they exactly leave and forget you were even besides them in the first place— quietly humming as if understood that you didn't wish to disturb their presence with yours, but happy enough that they could at least tolerate you.

even if that tolerance stems from the mere fact that you were akin to a ghost in their ever-so busy eyes.

even so, you still remember. young and forgiving, spite a foreign emotion on your tongue, not until you've met the youngest of your lot which would only be after a few years, when you were too late.

you remember the faint elation that courses off through your veins every time alfred promises to get you at least a sliver of meeting bruce again— but even that has barely any updates, you've long since given up the hope that you would see him beyond his busy days.

and you remember it very clearly when dick first introduced you to your room, the sheer brightness that emanates off of your idol, the curls of his hair that flow like ocean waves framing his chiseled face; and his smile, a grin that sports the brightest of teeth, which brings warmth that makes you forget why you were even taken in the first place, replaced with whimsy and giddiness that you get to meet your favorite person in the world, second to your mother.

the way his bright blue eyes contrast with bruce's, seemingly sunnier, more kinder in its approach that makes you drown deeper into the same gaze that forgets you a day after.

and those memories were stored in your heart, both good and bad, kept under lock and key to both haunt and tempt you throughout the entire months you had to deal with the loneliness clawing in your heart.

the pain was surreal every time you reminisce upon the windowsill, watching distantly in the garden that stretches far beyond thick fields of trees, flora and fauna; as tim spends his waking moments with his new group of friends who all praise the colorful array of bloom planted root-deep with love, and care and perseverance— all with soft, vibrant petals and sturdy stems that were a product of your hard-earned labor.

nobody truly acknowledged it was you who planted all those colorful arrays of flowers.

yet you remember everything, or at least recollections of when and how you came to realize just how truly invisible you are to the world.

the hope that flickers within once someone sets their eyes on you, family or friends. the heartbreak that settles within every fiber of pallid skin and sinewy bones every time those eyes leave your form after the slightest of seconds; you remember them all in record time and run to lock yourself in your room to write all these instances in an endless supply of diaries documenting just how miserable you truly are.

no matter if it pains you, and rips at the edges of thinly lined paper stained with black-inked pen writing down your harrowing rants; bleeding into the pages just like how your emotions run deeper than depression and ebbing anxiety.

dates were plastered as both a reminder and punishment for you to reflect upon— on all your wrongs, and ways on how to better yourself so someone, other than alfred, could finally acknowledge you for more than a few seconds.

you remember everything, you were sure of it, but not the first time you purposely drew blood from your skin, or when you contemplated ending it all.

maybe it was all stemming from pressure, or the constant subjection to emotional neglect paired with no support system helping you handle your instability to control your emotions.

or it came after you had first met damian, with your youngest brother threatening you with a damn sword that nicked your skin; making it his mission to torment you consistently your entire life. pushing you down the stairs, calling you and your mother names; a disgrace, mere baggage to the wayne's reputation— even if you glare at him with the slightest bit of bite does he retaliate with an even stronger approach. until you give up, until the fire in your eyes are washed away by the current of dizzying turmoil. until you couldn't even look at him eye-to-eye anymore, ignoring the wide stares he gives you and the way his hands reaches out to you after you run to a different room from his presence alone.

or it all probably fucking started when the lump in your throat had refused to go away, when the heavy boulder you call your heart weighs you down to watch in a corner as yet another member gets introduced into the family, when jealousy raptures and seers into your veins at just how easy...

how easy it is to actually integrate your presence into the wayne family, so why couldn't you?!

a week after you were integrated, it was tim who was welcomed warmly, who fits in so perfectly like a piece of a jigsaw puzzle whilst you were considered an exclusion, an extra who doesn't don a fucking cowl every night, who couldn't in your damn life break every bone and return in one piece, serving as a symbol inspiration for the media to set its eyes upon, and your smile most definitely doesn't brighten the entire room.

you're nothing compared to them.

to try so hard, to fail all the same— as your achievements, your successes and milestones all amount to nothing but heartbroken expectations and a pat of pity from your butler.

the hurt piles, and piles, and piles itself until the colossal infrastructure falls and obliterates around you in its torrid pits of flames and carnage, until glass shards erupt and pierce at your skin until it reaches bones— much like the blades you store and use to butcher skin until it turns into an unintelligible mess of bloodied lines flimsily slashed across the expanse of your body.

like an artwork, a canvas that pictures slaughter in the wake of tragedy. with blood that seeps and stains into the crevices of everything it touches, with you as both the painter and the muse of the chaos you chose to wreck upon yourself.

thick ropes, pill bottles, bottomless water, and sharp blades; they all became topics of interest within the pages of your flabbily designed sketchbook. there was a period of time where all you could do was subjecting each blank slate of ivory sheets with stabs of pencil lead and ruined brushes every time you handle things too roughly. you'd clench into whatever you're holding, and bite at your teeth until it draws blood that drips on grayscale sketches portraying you meeting brutal fates.

and it always ends in your ripping those sketches apart whilst curling in on yourself, pulling at unkempt hair and scratching at hollow, sunken cheeks.

with screams unheard, silent and voiceless through the halls of the manor you once considered a home— like a ghost with no words that come out its mouth, a robot with no voicebox, a doll whose mouth is stitched shut.

it was always silent every night, but the voice of doubt was always louder, and it beckons you to hang yourself, to end your life and to never look back at their wide grins as they spend yet another night together.

it convinces you to write a note for each and every member of the family, to bid them farewell and pass to the world; even if those letters would forego the same fate as you— neglected, stored at the dustiest corners of the room.

you're hurt, both inside and out, alone and deserted with only your thoughts; loud and unforgiving, terrible yet comforting. you feel hurt, at dick's broken promises and sideward glances, jealousy at jason's hold over bruce even after years of his death, spite at tim's brilliance and all the friends who come over at the manor, as if taunting you of his social privileges, and fear for damian to spring up against you, to kill you with his blades and serve your cold body upfront on top of the dinner table.

and you were hurting all the damn time. if not physically, then mentally and emotionally. you allowed the invisible shackles to scar you, trapping you with spikes constantly piercing through your organs. you let yourself be a victim to the past, subjecting yourself to punishment by remembering your mother, sprawled all across the floor in crimson carnage— as you're taken away from her by policemen scouring the area before you could even run to her limp body. it was enough to tempt you to draw sharp object on your skin, condemnation for a life that shouldn't be saved— you would've preferred if your mother lived, rather than you. she had so much more to do with her youthful life, you had nothing.

life was unbearable, you were always teethering on the edge of a cliff suspending in thin air; choosing to run for either hill, holding a string ready to break, for safety always required great risk. one you'd rather jump off of than expend anymore energy of your already weary life altogether—

until you had decided to change the course of your life. until, one day, through gradual thinking and contemplation, that they were the main source of your torment. that you needed to say goodbye, you need to live to honor your mother.

that was the only ideal part of your twisted world. all for your mother, who had sacrificed herself, her kind heart, all to keep you safe and contented.

when you had made the ultimate decision to move out of the manor, throwing away your past life and moving on with a different chapter, you thought your habits would've ceased. that you're cured, that nothing stands in the way of your developing independence and uprising confidence.

you are free, unchained to both the confines of your emotions and the neglect of your family.

happy, content, and living the best of your world despite the financial circumstances and... overdue bills. either way, you're satisfied and that counts. counts for the six-seven months you were away, meeting new friends, ignoring the prying eyes of a certain individual always watching you from afar, as you party and drink and come to only regret not staying sober the day after.

you were at your peak.

feeling the best of all worlds.

at least, not until dick's sudden messages flipped a switch, into a dormant part of your mind, adrenaline surging through your veins, your vision flooded with similar images of your past: of eerie hallways and lonely birthdays. those memories taunt you, and dick's gleaming pair of ocean eyes, that once bring comfort into your oblivious brain now traps you in his spiteful gaze.

and you really, genuinely thought you were no longer in need of anymore pain.

yet you were always wrong. of course you always are.

you're just you, remember?

now, in your current apartment, you stand hidden in the safety of your bathroom, staring at the mirror without thought, with only resignation; unprepared at your family's plans to take you back into their caging arms, but ready for the blade to once again reunite with the familiar lines long healed.

all to wash away your regret.

reblogs, and most especially comments and interactions are encouraged and appreciated.

a/n: sometimes, the pain you bear is too much to handle alone. sometimes, it can manifest through physical means to overpower the anguish that hurts you from within. but that doesn't mean going through the notion is deserved; nobody should ever resort through hurting themselves. when writing this, i was projecting all my emotions into the mc. in truth, as much as i love goofy drabbles, or write for the pleasures of myself and others; that doesn't change any problems i have at all. chronic depression is a pain in the ass. releasing my emotions through writing helps me a lot. and i hope that whoever reads this little drabble know that this is a love letter both to me for how far i've come, and the readers who've supported me with comments and praises that helped me go through the day. i've nothing else to say, i feel indifferent to the draft.

[maxarchive]

Listen to the full interview here.

Now, just as the championship was starting to get to a really tense point around Austin, there was this big controversy about driving ethics between you and Lando. The drivers had a big conversation with the FIA after that race about the guidelines and it felt in some ways that it was a consequence of what had happened in Austin. How did you feel about that? Did you ever feel like they were singling you out?

You know, honestly, I don't, even if they would have done or did, I, first of all, I don't care because I drive to what I think is possible and what is allowed in the rules. And if the rules are written like that, I will use the rules. I'm just not the type of person that I think, if that would have happened to me the other way around, you know. There is then other people commenting on, other drivers commenting on that were not involved in that whatever incident or whatever you call it. I don't think I would have been the person then to complain so hard because I would just think to myself that, okay, if that's the rules, that's how we do it instead of screaming that we need to change the rules. Because the problem is, if you make less rules and then something happens, then they will start screaming for more rules. Now we have the rules, maybe not perfect, but it will never be perfect. Because if we get to a certain rule set, there will be another incident where someone is not happy about and then they start screaming that the rules are not correct again. It's the same in football. If there's a foul and there are some clear rules about certain things, it's not always that the right decision is made on it, or is it a penalty given or not? Or was it offside or not? That's why you can never, at the end of the day, do it right. Do I think that consistency in the penalties can be better? Yes, for sure. But that only comes with, I think, stewards that are paid, you know, professional stewards. Not that I think that the stewards that we have right now, you know, they're doing their very best to what they have, you know, but I do think that, you know, in a sport like this, like you see in other sports as well, that when you have a paid board of stewards, I think it just works way better.

You said something very interesting there about the rules that you were always driving to the rules. And that's the fundamental point. I think no one said in Austin or thought that you'd done anything against the rules. But there was this particular kind of defense, you know, the kind of race to the apex, trying to be ahead and all the rest of it that people are talking about now. Do you think that just taking a step back from that particular incident, do you feel that that's the right way to go racing? Would you choose to do it that way if those weren't the rules? How would you like to do it?

Like I grew up with go-karting, where it's not about who is ahead of the apex or not. I think every driver is anyway a little bit different. I remember from go-karting as well with some, you just knew that if you went around the outside, you could hang it around the outside. And with some others, you couldn't because they would push you off. And I think you need a little bit more freedom on that. Because when... When it's that clear rule that you need to be ahead or alongside fully to the apex, you will create other issues with that, right?

So would you naturally want to give someone room on the outside on the exit if you were racing?

Well, me personally, I don't race like that.

You don't... What, sorry, what do you mean?

Well, it's like when I... So when I race with someone, I would... Well, he will not be able to overtake me around the outside.

Okay. Why?

Because that's how I grew up racing.

Okay. So you always think it's okay to go to the edge of the track and force someone off?

Yes, but I've raced against other people in go-karting that would give me space. You know, it's like, it's just a driver-related thing, that some drivers are just a bit more passive, you know, in racing. And that's just how they are. And some I know that even in F1 I can't hang it around the outside because they will push me off. It's just, it's like a bit more of like a racing, I would say, instinct.

So I think if you were to play the devil's advocate, how would someone ever overtake you? Because you will always go to the inside to defend.

It depends on the track layout. I think the main problem is that when you have so much tarmac on the outside, you, even if you lock up a little bit, you just run a little bit wide. But on old-school tracks, you normally never really have these kind of issues because it just doesn't happen because people are a little bit more tentative on the brakes. Also, the guy that is trying to overtake knows that if he makes a mistake and locks up, he's in the gravel and his race is done. You know, so that's what I think is the problem is the track layout is letting us do these kind of, like, you then have questions with some moves. Where if you go to, like, Suzuka or even Red Bull Ring in turn four, the downhill right-hander, where sometimes, you know, it's very rare that there is any, like, question mark move that has been done there because if you make a mistake and you brake too late, you go off in the gravel and you're penalized anyway. And I think we have to try and go back to these kind of things that when a driver goes off the track, there's a harsher penalty with just natural, like, track limits.

So you would never give someone in the outside room on the exit of the corner if you were racing?

Well, that's just normally the case, yeah.

Yeah, okay, cool.

And, of course, when the track is naturally the limit with the gravel being there, then no one even want to go around the outside because they know that. So you then try to go for a cutback or, you know, set yourself up in a different way.

[macaiv]

Source: Sky Sports F1 Pre-Qualifying Show Las Vegas GP 2024

Esteban: Yeah it's definitely been awesome to just being able to have such a result after difficult season. Yeah it's been fantastic and also coming back here last year we had almost a podium, finished fourth. It was a very good race so there's a good momentum at the moment going on and obviously a big fight with the other teams until the end of the year. So it just brings more spice and more interesting things for us until the end of the year.

Transcript:

Rachel: So Esteban we're back in Vegas, it probably feels like a long time since Brazil but those memories must still be pretty good.

Rachel: What did it mean to the factory and to everyone who works in the team to have both of you up there because as you say it's been a really difficult year. Everyone's had to keep their heads down and keep working hard and try and get something out of this season.

Esteban: Yeah I mean there was a huge buzz inside the factory. It meant the whole world for the team. Everyone, everybody was working so hard you know to try and get a good car this year. Unfortunately we don't have the the car that we expected but it's a good reward for everyone and a very very nice one you for me and Pierre for sure to to be on the podium together. It's a special story for us and yeah definitely a moment that we will forever remember.

Rachel: Last three races with Alpine. How are you feeling? Is it weird?

Esteban: Yeah it's going to be emotional for sure especially the the last race but I've spent five years with this team. It's been a hell of a ride some good times some times a little bit more difficult but five years in formula one terms is a long time.

Rachel: You're making me feel really bad man.

Esteban: You've been here for a long time Rachel. But yeah no it's been nice obviously to get that last good results. I hope that we can get some good ones as well for for the rest of the year but it will be more tricky to be realistic to be honest. It won't rain for for the last three but yeah as I said it will be emotional but I'm looking forward to finish the story on the high.

Rachel: I mean this place is quite distracting, isn't it? This actual I mean the city itself have you been out what have you been doing and and I mean look at all this this is crazy.

Esteban: Yeah this is crazy and you know the sunset, the scenery and how it is you know the whole week. It's a standout race I would say compared to the rest of the year. It's a race that we've got really good surprises from last year. I think you know we were expecting something to be very different to actually how it is but it's a really good racing circuit. It can feel like it's warm because I'm wearing very thin jackets but I'm actually freezing for it.

Rachel: But I'm really warm that's the thing I'm really warm right now but I've got about 10 layers back in the office ready for it.

Esteban: Yes exactly just before you take them off and when we do the interview but no it's actually freezing so that brings opportunities because you know the tires the way they work you know it's not usual it's quite extreme so it should be interesting.

Rachel: All right, go well this weekend. Enjoy your last three races with Alpine. Thanks for talking to us.

Esteban: No problem. Thank you.

Bonus Part:

Simon: Well, it was a nice way, isn't it, to end his Alpine career. Great scenes up there. They're not always been the best of friends. We know that. Great rivals himself and Pierre Gasly. But I mean, what an enormous moment for the team, Jenson.

Jenson: Yeah, that was massive. That came from ninth in the championship to seventh. Right. Yeah, sixth. So they jumped three teams. That's massive. But this is a nice way to see out their championship. Well, they they're time together as teammates, as we know, they haven't seen eye to eye always. But to hug it out and stand on a podium together, it's pretty awesome.

Simon: Such similar careers that they've had as well.

Danica: I mean, it's a small world. You never know when you might run into each other or the or a team again or the team personnel within. So I think it's a really good thing to sort of be on this being this in this in this feeling at this point in the season as this comes to an end for Alpine with him. And, you know, he still has a chance to make some really great impression in their these last few races. Here last year, him and Pierre had a great race against each other. So, yeah, it's good to see good to see smiles.

Simon: Is he destined, though, do you think to be one of these drivers that last a long time in the sport, but perhaps doesn't get to one of the top drives, Esteban?

Martin: I think there's more potential in Esteban than he's showed. He fascinates me actually, because he is the nicest person you'd ever want to meet. And then when the helmet goes on, a little switch just behind you here that we've all got goes down and he turns into, with all due respect, a bit of a monster on the racetrack. And I think that energy is wasted in a way. I think there's more potential in him than he's delivered so far. But there's still time.

[bloodismymedium]

Mona x Tina Toxic Yuri Headcanons because I’m a bad person 🫀🌸🔪🧁

Ya’ll can blame @dollsleeper for giving me the toxic yuri bug. I am officially a Tona shipper thanks to them XD

TW: references to sexual assault, stockholm syndrome, stalking and abuse

☠️ Mona didn’t think much of Tina when she first laid eyes on her, she was just another piece of meat to be used in her art, what really made her fall in love with Tina was when she heard her scream. She heard so many screams before her and always took twisted pleasure in hearing the screams of her victims but Tina’s screams just hit different, it was like a beautiful song to her and she wanted to hear it forever. Ironically, Tina’s screaming was what saved her life because it made Mona do what she never did with any of her victims… she hesitated in killing her. Mona would have many lesbian thoughts about Tina since that fateful day, she often wondered how soft her hair must be and how much she yearned to smell the perfume on her body again.

☠️ Mona became completely obsessed with Tina after hearing that beautiful scream of her’s and would end up stalking her for the next two years, memorizing her schedule, occasionally stealing her belongings but she didn’t make a move on her until after watching her interview. Mona took Tina’s “once you’ve been to hell, you don’t come back” quote as a sign that Tina wanted to come back to her, like a piece of her was still with Mona since that day and she was beckoning Mona to take her back… It was the most romantic thing Mona has ever heard in her life.

☠️ Mona actually tries to make sure Tina is as comfortable as possible. She took her beautiful, bloodstained lace bedsheets with her to put over the dirty mattress she has Tina placed on, she actually cooks her food even if they don’t turn out right most of the time, she’ll cuddle up with her if she looks like she’s cold, she’ll check to see if the pretty pink collar she picked out for her isn’t too tight, she even bathes her semi-frequently.

☠️ Tina is constantly trying to fight off the warm, fuzzy feelings that Mona gives her. She doesn’t want to admit how much she melts when Mona touches her thigh, she hates how good she feels when Mona says things like “you inspire me so much” and “you’re so pretty when you cry”, she finds herself actually blushing when Mona compliments her. Every day is an inner war to stop herself from falling in love with the woman who killed everyone around her, dismembered her and now keeps her hostage in what looks and smells like a lived in sewer.

☠️ Tina hates herself for finding Mona so pretty, she’s a monster, one who killed her sister, her boyfriend and her mother, mutilated her, keeping her alive just to treat her like some kind of toy or pet… and yet she thinks her long, black hair is so pretty, her eyes so beautifully haunting, the expressions she makes when she paints those horrible portraits are strangely charming, that course yet oddly soothing voice that makes her feel a strange combo of fear and comfort. She just can’t keep Mona out of her head and she hates it.

☠️ Mona loves to doll up Tina, dressing her up in pretty outfits and doing her makeup, trying out different hairstyles, she would even do her nails if she still had hands. Tina hates this but she’s learned not to fight back, having come to fear making Mona angry and besides, every day, against her better judgement she likes Mona’s games of dress up a tiny bit more. Mona knows this too, remembering the time when Tina blushed after Mona said she had good fashion sense.

☠️ Mona and Tina surprisingly have a lot of common. They both have a major sweet tooth, they both have a love for nature even though Tina is a deer girl and flower enjoyer while Mona is a rat and bug lady who collects molds, spores and fungus, they both have artistic talent and an interest in the arts (Tina being a knitter and sewer) and they even have a shared quirk in a tendency to play around with their hair when bored or anxious.

☠️ Tina is bisexual but she’s kept her sexuality a secret from her mother since she’s a conservative christian type and she feared she wouldn’t accept her if she found out, Jack and Flora both knew however. It can be surmised that Mona is pan since she has a very “a hole is a hole” mentality when it comes to sex but she wouldn’t identify as pansexual since she doesn’t really care for labels.

☠️ Shockingly, Mona hasn’t gone too far in forcing herself upon Tina. She could easily subject her to her darkest, sexual fantasies like she has done to so many others and you better believe she’s had some real devious thoughts and yet the worst she’s done to her is groping/squeezing her breasts and thighs on a regular basis or licking her face. Tina of course is horrified and disgusted by these acts and yet… why does her face and nethers feel so warm when she does it? And why does she whimper and mew the way she does when Mona bites her neck and shoulders even when she draws blood? And why does she always kind of look forward to when Mona cuddles up to her even when she’s soaking in blood?…

☠️ Bill is VERY jealous of all the attention Tina gets from Mona and is always thinking about murdering and getting rid of her so that he can be Mona’s “favorite” again but has enough smarts left to know that he would be severely punished, maybe even killed if he did so he has no choice but to grit and bare it. His patience will always be tested when Mona talks about her while they’re out murdering like when Mona finds some kind of accessory or article of clothing and will ask Bill “do you think Tina would like this?”. Bill will scare the shit out of Tina when Mona isn’t around in a vain attempt at revenge against her.

[raineandsky]

#77

The sidekick avoids the gaze of the two heroes in front of them. It feels awfully like an interrogation, sitting at a metal table in a bare room like this. They’re starting to worry that they’ve done something wrong, and they’re about to be absolutely obliterated about it.

The first hero smiles at them. “You’ve come far, [Sidekick],” she opens. “The agency’s finally given us the go-ahead to let you into the city for your first assignment.”

The sidekick’s gaze snaps up to her in disbelief. All their hard work is, finally, finally, paying off. “Really?”

The first hero nods brightly. She opens her mouth but the second hero beats her to it. “You have a big decision to make,” he says brightly. “You need a hero to accompany.”

“That’s why I’m here,” the first hero butts in quickly.

“And me,” the second adds immediately after.

“You’ve shown a lot of promise in your training, [Sidekick],” the first continues with a stark scowl thrown the other hero’s way. “I’d like to offer myself to accompany you in what will inevitably be a wonderful career that carries you to being a hero.”

The sidekick stares at her with wide eyes. They weren’t expecting to pass training this early, and they certainly weren’t expecting heroes to offer to tutor them. They currently have a script tucked under their bed that they were going to use to convince people that they need a sidekick.

“No, no, she’s got it all wrong,” the second hero cuts in quickly. “No, you don’t want her. You want me.” He grins a little too wide. “I know all the little secrets of the city. I can teach you everything there is to know about this place.”

“No,” the first hero snaps. “He’s got a criminal record.”

The second hero’s eyes practically pop out of his head. The sidekick’s dart between them in acute alarm. “I was a teenager!” he cries.

“I know you’re not a violent kid,” she continues over his incensed howling, pointedly focusing on the sidekick. “I can show you all the good we can do with pacifism.”

“That– That’s nice,” the sidekick says dumbly. The heroes’ arguing is making them a little nervous, frankly, and they’ve no idea how to handle adults acting like children. “I’d like that.”

“I can do that too!” the second hero practically shrieks. “Peace is easy! I also catch the most criminals—never a boring day, ha—and I can show you the—”

“Give them a break, jeez,” the first hero says with self-assured calm. “It’s up to you, [Sidekick]. It’s the criminal” — she smiles softly — “or me.”

“The criminal record is a thing of the past,” the second hero says quickly. “I can show you how to have fun as a hero, unlike goody two-shoes over here.”

“Being a hero is dull sometimes. There’s no point in lying about it.”

“Obviously it is. That’s why you enjoy it where you can.” His gaze turns a little too harshly onto the sidekick. They involuntarily shrink away a little bit. “Right, [Sidekick]?”

“Um,” is all they can get out.

“It’s a big decision,” the first hero says, getting to her feet. “You think on it, and come back to me when you’ve decided, alright?”

“You can come to me too,” the second hero adds. He mirrors her as the chair scrapes across the floor behind him. “Come find whoever you want to work with, yeah?”

The sidekick nods mutely again. They’re not entirely sure what to say to all this.

The heroes let them out with feverish promises that they’d both be the perfect hero to accompany into the city. The sidekick agrees awkwardly and skidaddles the moment they can break away.

The script under their bed is crumpled up and tossed in the bin. Two heroes are in the market for a sidekick—and for them. They need to look back over their test scores, see if they can figure out what they did to make a pair of heroes clamber for their attention like this.

That can wait, though. They have a big decision to make.

Which hero do they spend the next ten years working with?

[sunburnacoustic]

@origin-of-symmetryy's poll about the Muse album closers got me thinking (and frankly, the addition under their poll was getting ridiculously long, and so I've decided to make a new post), Muse are really good at album closers. Really good. Of course, the order of songs on an album is something most musicians will spend some time thinking about, but usually outside of concept albums, what songs close the albums don’t really matter as much. Sometimes they’re coincidentally great; the best of the album closers are ones that will leave you sitting in silence for a minute just thinking about what you’ve just heard. (There’s an English band called Yard Act who closed their debut album The Overload with, “It’s not like there’s gonna be nothing, is there?” And then there's silence; the album's over. And the whole song itself was in short, about humanity and people being people, and so I did sit and think about the album for a minute, it was great.)

Muse are like that. Their album closers are really meant to be closers. It's almost like their shows: the albums are paced out in such a way that you're being taken on a journey listening to them, and you're not just going to have all the energetic stuff at once, and you won't just have the chilled out, relaxed or downtempo songs in one lump. We've all definitely marveled right here on Museblr about the transition on Absolution from Hysteria -> Blackout -> Butterflies & Hurricanes. Those are not exactly similar songs, but Muse know how to make it work.

All this is to say, Muse certainly know how to bring the rollercoaster down to a stop at the end of an album, both musically and emotionally/thematically. Think of Megalomania, Ruled by Secrecy, Exogenesis Symphony, Isolated System, Drones, The Void, even Glorious if you're willing to consider the extended version of BHAR. Musically, they're a bit more chilling, emotionally usually less settled, kinda despondent, they seem to almost close with a message of 'it's all kind of messed up. It doesn't matter, you see? They're fucked up. We all are.' Or 'See? That's how everything goes wrong' (depending on which album you're listening to).

The only album I would say does not seem to have a thematic intention behind it is Showbiz, but Hate This And I'll Love You does have a certain grandiose element to its outro that makes it a perfect show closer; the brash little bow taken at the end of what they know is an album well done. Thematically I can only surmise: 'try hating this. We dare you to. You see the current musical landscape? What do you think of it? We are Muse. We are about to change everything; destroy the status quo. Stay tuned.'

To my mind at least, here's how the other album closers relate to the themes of the records: Origin of Symmetry is partly about human connection, observed through its relationship to technology (New Born, Screenager, Plug In Baby), occasionally religion (Hyper Music, Megalomania, or sometimes mysticism.

Throughout the album, Matt has explored themes of becoming distant from other people, loneliness, reliance on technology (and erm, sex robots I guess), paranoia, love, hope, the feeling of being perceived. Megalomania seems to come down from the heightened emotions, whether negative or positive, turns despondent and challenges a God about why people should even bother going through it all: why love? Why trust? Why procreate and restart the whole cycle again? It's bringing it all back down to earth to close out the album. And of course, musically too, that song sounds pessimistic. Come on.

Absolution: Matt and Dom have talked about how this album was less about actual religion, but more about their own personal absolutions: freeing themselves through music. The religious themes are allegorical, the album's motivations are more existential, personal and heightened emotionally: we're dealing with themes of self-worth, paranoia, relationships, and more of that search for meaning that we saw glimpses of in Origin Of Symmetry.

At the end of it all comes Ruled By Secrecy, with the protagonist realising that no matter how hard they try, a lot of their own life is beyond their control. Despite all the hopes, fears, anxieties about who you are, your future and your own death; no matter how hard you try to fight it, it is out of your power, and no one knows who's in control. A final fight-or-flight at the end of the album that concludes, it doesn't matter. There's nothing you can do. Can't fight it. And of course, that dark, echoing, reverb-drenched piano arpeggio is haunting and will linger in your mind well after Dom's last cymbal crash.

Black Holes and Revelations: Look, I think the human spirit and connection is such a central theme to Matt Bellamy's writing that I ought to stop mentioning it because here too I will go 'ditto'. It's the human emotional spectrum: love, loss, anxiety, needing control of your life, loneliness; but this time explored through the lens of politics, of conspiracy and paranoia, extraterrestrialism, but drawing those connections back to feeling alienated rather than literal alien stuff (save that for the interviews ;) )

I think Knights is definitely a change in direction from Muse's previous few closers in that there's no way you could call it downtempo, but it works for the same reasons that it is Muse's staple set closer: it goes out on a high. It acknowledges how real our fears are, but also how silly they can seem spoken out loud (or, say, sung out loud on a record or in concert with 90,000 people), and says, you know what. We can still wear silly hats and boots, play space cowboy riffs and sing anthems about it. (I know this is not the exact meaning of the song, but that's the meaning I get from it being placed at the end of the album, if you see my distinction). Glorious, on the other hand, is a more classic mellow Muse album closer (and would've definitely worked too), but more optimistic and taking comfort in love. Still as much of a full-stop as any previous closers. See when I say this is a band that knows what an album closer is!

The Resistance: Muse's dystopian thriller, 54 minutes of exploring the personal in the context of the global, set against a backdrop of strife, tensions, big ideas about the geopolitics of the world, and of course, a reflection on the books and media Matt had consumed around the time of this album. Against this backdrop, Exogenesis Symphony seems to run parallel to the album itself, a 3-part story exploring the hubris of thinking that the only way of saving humanity from all its problems was the nuclear option (figuratively): to begin life on a new planet, only to conclude that we're doomed to repeat our old habits and fail, hinting that our only real chance is to band together to save ourselves and what we have right now. Muse would go on to employ a similar 'parallel what-if' storyline later too on The Globalist. Anyway, for ending with a message insinuating peace as the only option to avoid destruction, that's a classic Muse album closer.

The 2nd Law: Matt turns his eyes to environmental and existential anxieties, while placing the blame squarely at the feet of greed and capitalism, presented through a physics metaphor for an economic situation: just as the 2nd law of thermodynamics states that entropy (or general instability) of an isolated system is always increasing, an economic system building itself on endless growth becomes more unstable. (And as the first law states, perpetual motion, or growth, is impossible, and hence unsustainable in the long run). How anyone was surprised that this exactly was Muse's first album in the aftermath of the global financial crisis is beyond me.

An interesting mix of the electronic and 'real' elements on this album at a time when the debate about rock and guitar bands using electronic instruments was rife, it's interesting to me how some of the most overtly electronic songs on this album (Madness, Follow Me) also happen to be the most personal ones Matt wrote, while his rawness is reserved for his environmental angst: Animals, Explorers, to an extent Survival, when seen outside the Olympic light.

The two 2nd Law tracks flip that script of course, and the contrast between them (one heavier, the other much more understated) does kind of reflect what they're about, but the cold, chilling nature of Isolated System? Easy to see why they picked it as a soundtrack to play repeatedly under an apocalyptic film (which is still extremely diluted from the book, which does encompass more themes of a bio-ecological disaster than the film). It does return to Muse's tried and tested album closer formula of finishing the album with a haunting piece of music that will leave you thinking about the album you've just listened to, slightly unsettled.

Now, Drones! An album exploring the pitfalls of artificial intelligence in the military sphere, on the surface about warfare, but underneath, a much more human and emotional journey undertaken by a protagonist not to lose their human spirit, their sense of what is right and will to stand up for their rights. A mix of the personal and political. Muse's first explicit concept album.

The song Drones delves into the dystopia, separate from the timeline of the album where the protagonist (Mary) freed themself, returned home to their loved ones, stopped being an emotionless drone and discovered love again, only to retire away from all the pain in order to heal. It's a proper summariser of a track, and so a fitting album closer: you don't need to look your victims in the eyes anymore, you don't have to fight your own sense of decency and humanity: 'now you can kill from the comfort of your home with drones'. I also think having many Matt voices with none of them ever taking the role of lead singer is a sly little summary of the album too: you're all just voices in the choir, you can't tell any of them apart. You're faceless. But I suppose, also the fact that you're able to discern meaning from this chorus of voices that is not always singing in unison, that conveys the strength of working together to overcome adversity? All album themes. Anyway, any song that closes the album with 'Aaaa-men.' is a proper album closer, cheers Matt!

Simulation Theory (standard version, because the deluxe doesn't have new songs, just other versions of the existing ones): the darkness has finally lifted from Matt's life. Bouncing back from the album meant to convey emotional deadness (and Matt's breakup album), Matt's found love, robots and nostalgia, and by god he was going to make it known! Even through the sci-fi, this album is still exploring the ramifications of the AI powering decisions that impact all our lives: this album explores the consequences of algorithms, social media and peer pressure, spreading misinformation and chaos, but also the humanity that connects us all that the computers can never really nail down. That's where the album closer The Void comes in: statistical modelling may have you believing that everyone is just a number to fit along a neat mathematical line, that anyone outside the norm is unaccounted for, erased, alone, estranged; that individual people cannot have an impact: they're wrong. Just for that line, this is a cracker of a closing song. Ending with Matt's now-trademark hope, belief in humanity and optimism. And yes, yet another emotional, downtempo Muse album closer that'll leave you thinking and feeling things for a while.

Will Of The People: Now this one is so interesting to me. On an album exploring the current landscape: near-apocalyptic scenes in terms of the environment, global public health, economy, civil unrest and failures of public leadership, only a Muse album could really do the scene justice. So where does We Are Fucking Fucked fit in? It's so different from traditional Muse album closers. Where's that optimism and fighting spirit Matt says he simply cannot write without? I don't think I can say it better than Matt's said it himself:

[W]henever someone creates a film or a book that ends on a sort of tragedy of some kind, or ends on something bad, what happens is, it leaves the viewer or the listener in a state where they can’t help but feel compelled to do something about creating an equilibrium that isn’t there. When I was studying films briefly, that’s what someone told me: If you wanna do something where you leave it to the actual person who’s watching or reading or consuming the art… if you leave them in a state with an unhappy ending … they can walk away from it and go, “Maybe I need to do something about this.” So that was one of the reasons why I put “We Are Fucking Fucked” at the very end. Hopefully people come away from it and go like, “Well, are we? I don’t know about that. Maybe I’ll do this…”

And what did lie at the end of the album? A Muse concert? Perhaps something bigger: a real-life push for justice and peace? I love the concept of WAFF as an album closer, that's a brilliant concept.

What do you guys think?

[haylee-bb]

The Hunger Games but we replace Caesar Flickerman with this guy

[unproduciblesmackdown]

fun connection on this archived kickstarter update from the 2011 production/s of "the bus" as found by @broadway-heere-i-come ft. many pics from their trip to wichita, kansas for several performances there, including this one

fantastic stuff & was noticing that it seems like partly legible lyrics back there, which sent me over to consult that q&a sincerely me vlog again like hang on lol. and sure enough

lo, behold

[oldwitchsleep]

good morning to "i love you, louis. you are loved" and "for the first time in my life, i was seen" and only them <3

[thursdaysbagman]

.

[alpaca-clouds]

Why the media CEOs will always learn the wrong lessons

Yesterday a friend and I talked about how the entire (AAA) game industrie looked at BG3 being as popular as it is and going: "Oh, we need to produce 100+ hour games, I guess! Those sell!" Which... obviously is not why it is popular. The game is not popular because it has 100+ hours of gameplay, but because it has engaging characters, that are well-acted and that work as good hooks for the players. Like, let's face it: The reason why I so far have sunken 160 hours into this game is, because I wanna spend time with these characters - and because I wanna give them their happy endings.

But the same has happened too, just a bit earlier this year, right? When Barbie broke the 1 billion and every Hollywood CEO went: "Oh, so the people want movies based on toy franchises! Got it!" To which the internet at large replied: "... How is that the lesson you learned from this?"

Well, let me explain to you, why this is the lesson they learn: It is because the CEOs and the boards of directors at large are not artists or even engaged with the medium they produce. They mostly are economists. And their dry little hearts do not understand stuff more complex than numbers and spread sheets.

That sounds evil, I know, but... It is sadly the truth. When they look at a successful movie/series/game/book/comic, they look at it as a product, not a piece of art or narrative. It is just a product that has very clear metrics.

To them Barbie is not a movie with interesting stylistic choices that stand out from the majority of high budget action blockbusters. It is a toy movie with mildly feminist themes.

Or Oppenheimer is not a movie to them with a strong visual language and good acting direction. No, it is a historical blockbuster.

And this is true for basically every form of media. I mean, books are actually a fairly good example. In my life I do remember the big book fads that happened. When Harry Potter was a success, there was at least a dozen other "magical school" book series being released. When Twilight was a big success there was suddenly an endless number of "teen girl falls in love with bad boy, who is [magical creature]" YA. When the Hunger Games was a success, there were hundreds of "YA dystopia" books. Meanwhile in adult reading, we had the big "next Game of Throne" fad.

Of course, the irony is, that within each of those fads there might have been one or two somewhat successful series - but never even one that came even close to whatever started the fad.

Or with movies, we have seen it, too. When Avengers broke the 1 billion (which up to this point only few movies did) the studios went: "Ooooooh, so we need shared universe film series" - and then all went to try and fail to create their own cinematic universe.

Because the people, who call the shots, are just immensely desinterested in the thing they are selling. They do not really care about the content. All they care about is having a supposedly easy avenue of selling it. Just as they do not care about the consumer. All they care about is that the consumer buys it. Why he buys it... Well, they do not care. They could not care less, in fact.

So, yeah, get ready for a 20 overproduced games with a bloated 100+ hours of empty gameplay, but without the engaging characters. And for like at least 15 more moves based on some toy franchise, that nobody actually cares about.

And then get ready for all the CEOs to do the surprised Pikachu face, when all of that ends up not financially successful.

Really, I read some interviews yesterday from some AAA-studio CEOs and their blatant shock and missing understanding on why BG3 works for so many people.

Because, yeah... capitalism does not appreciate art. Capitalism does not understand art. It only understands spread sheets.

[pickingupmymercedes]

A bit mushy - Lewis Hamilton

Let's see how Lewis and his wife do in a Couple's Interview.

pairing: Lewis Hamilton x Reader!

warnings: none

wordcount: +3k

a/n: Fun and light Lewis for the win, again thanks a million times to @greedyjudge2 for the idea and for some of the questions, I know I don't usually write carefree Lewis but it's my favorite ❤️❤️

As always, I'm open for feedback, come say hi!

_______________________________________

The room was buzzing—cameras being adjusted, light stands tweaked and a handful of crew members chatting as they waited for everything to come together.

Lewis sat comfortably on the low-slung, cushy armchair beside his wife, his hand resting casually on the back of her seat tracing lazy circles on her back. They looked impossibly relaxed, as if the cameras were invisible, and this was just another day at home.

The director, a laid-back guy with a coffee stain on his jeans and a clipboard that looked way too serious for the vibe of the shoot, strolled over.

He was juggling his phone and an energy drink, clearly a man trying to keep his cool while wrangling two of the most charismatic people in motorsports.

“Okay, so this should be easy” he started, his voice overly casual like he almost didn’t want to disturb the couple’s chemistry “No serious stuff. No PR-approved answers. We’re here for the real deal. Just answering a few questions about each other, nothing too scandalous. Think... fun, but, y’know, juicy enough to make people smile.”

Lewis’s wife, legs crossed and leaning slightly into her husband’s space, raised an eyebrow. “Define juicy” a sly smile tugging at her lips.

The director chuckled, rubbing the back of his neck. “You know, like... light-hearted scandal. Stuff people don’t already know. Maybe embarrass him a little—" he motioned to Lewis—"but in a cute way.”

Lewis shot the director a mock glare “Right, you don’t really need to ask her that” he said, his voice dripping with good-humored sarcasm.

His wife snorted, turning to face him with a grin. “Promise not to dig too deep. Unless we’re talking about those sneakers you wore to the beach...”

Lewis groaned, tilting his head back dramatically. “Not the beach sneakers again! One time and I’m branded for life.”

The crew around them snickered, and even the sound guy adjusted his headphones to cover a grin.

There was something about the way they bickered that had the whole room leaning in, as if everyone was witnessing the most intimate, casual conversation between two people who just fit.

The director, fully entertained, motioned to the cameraman to get ready. “Alright, alright. Let’s save the good stuff for the shoot. Remember, it’s just you two being yourselves. No need to put on a show.”

His wife reached over and squeezed Lewis’s hand. “No promises.”

As they shared a quiet laugh, the subtle touches and glances between them were enough to make anyone nearby smile. There was no need for grand gestures—the way they leaned into each other, how their conversations flowed effortlessly, said more than any scripted moment ever could.

They had that kind of love that made everyone else feel like they were in on something out of ordinary, just by watching.

The cameras zoomed in slowly as the couple got comfortable in their seats. Lewis leaned back, his arm still slung casually around his wife’s chair, his body slight angled so he could face her better, and she tucked one leg underneath her, turning toward him like she always did when they were in the middle of one of their many quiet conversations.

Except this wasn’t quite so quiet. The cameras were rolling now, and the world was about to get a glimpse into how they were with each other.

The director's voice came through, just loud enough to hear but never intrusive.

“Alright, let’s get this rolling. What embarrassing fashion trend did you take part in?”

Lewis immediately leaned forward, rubbing his hands together as if he was preparing for battle. “I’ll own this one. Bandanas. Wore them with everything back in the day. Thought I was some kind of rockstar or something.”

She tilted her head, eyebrows shooting up. “Bandanas?” she asked, feigning surprise. Her eyes glimmered with mischief, and she leaned closer, as if letting the audience in on a secret. “You sure it wasn’t the Timberlands?”

Lewis threw his head back with a groan, already knowing where this was headed. “Not the Timbs,” he mumbled, shaking his head like he was in actual pain.

“Yeah, the Timbs” she said, fully grinning now. “Let me remind you, you used to wear them with everything. Jeans, tracksuits, shorts, suits—”

Lewis raised a hand, stopping her, though there was a smile pulling at the corner of his mouth. “I still stand by those, alright? I don’t care what anyone says. Timbs are timeless.”

She rolled her eyes playfully, patting his leg. “Sure, babe. Whatever helps you sleep at night.”

The banter between them came so naturally, it was easy to forget there were cameras pointed right at them. The crew standing around had mostly stopped what they were doing, some watching the couple with amused smirks, others clearly touched by how playful yet undeniably affectionate they were towards each other.

“Okay, next question: What first attracted you to each other?”

Lewis’s wife leaned back, narrowing her eyes like she was trying to come up with something profound. “His sense of style,” she deadpanned, lips twitching as she fought back a grin.

Lewis blinked, his head cocked to the side. “Seriously? You were just attacking my Timbs? That guy’s sense of style?”

For a moment, she held her ground, lips pursed in mock-seriousness. But after a few seconds of staring at him—his bewildered look, the way he was just waiting for her to crack—she broke. Her laugh wasn’t exactly loud but it filled the room.

“Okay, fine!” She reached out, her hand landing on his thigh, fingers curling into the fabric of his pants. “It was your eyes.”

Lewis’s eyebrows shot up as he gave her a soft smile. He just stared at her, thrown off by her sudden honesty.

She smiled, her gaze softening too as she looked at him. “They’re intense, you know? Like you see things really deeply. The way you look at the world... it’s impossible not to notice.”

Lewis was quiet for a beat, his usual witty retorts momentarily forgotten. His hand moved instinctively to cover hers on his leg, squeezing it gently. “Well, damn” he finally said, his voice quieter than before, almost reverent.

The room around them seemed to still. There was something about the way they looked at each other that made it feel like they were the only ones there, like everyone else had faded away.

“Next one—‘On what occasion have you lied to me?’”

Lewis’s eyes went wide, a mischievous grin spreading across his face as he glanced at his wife. “Uh… Remember when I blamed Roscoe for loosing up your house shoes?”

Her mouth dropped open as she stared at him in disbelief. “No. You’re telling me you wore my house shoes, Lewis?!”

He winced, trying to play it cool. “I mean… It was just that one time! They looked comfy, and my feet were cold. I didn’t think you’d notice.”

“Oh, I noticed,” she said, crossing her arms. “I just thought Roscoe had lied on them, not that your big feet had wrecked them!”

The crew chuckled, sensing the playful tension building between them.

“Roscoe was the perfect scapegoat…” Lewis defended himself.

“My poor baby” she sighed dramatically, shaking her head. “You threw him under the bus!”

“He didn’t seem to mind,” Lewis replied with a smirk, leaning closer to her, his tone turning softer. “But hey, I bought you new ones”

She raised a brow, clearly amused but still pretending to be serious.

“Have I ever made you jealous?”

Lewis leaned back, arms crossed over his chest, a playful smirk creeping across his face as he quipped in before she could. “She has, yes.”

His wife’s eyebrows shot up in surprise. “Oh? When exactly?”

He didn’t answer immediately, taking his time like he always did when he wanted to build up the suspense. She leaned in; her curiosity evident in the way her lips quirked. “Come on, give me the details.”

Lewis shook his head, clearly amused. “The silver dress” he said, voice low.

For a second, she didn’t react, clearly trying to place the memory. Then, like a lightbulb flicking on, her eyes widened in recognition. “Ohhh, that night!”

Her laughter exploded from her, loud and sudden, catching even the crew off guard. She leaned back in her chair, clutching her stomach slightly as she laughed, while Lewis sat there, arms still crossed, trying his best to look annoyed but clearly failing.

“That night was something” she said between laughs, her eyes shimmering with tears of amusement.

Lewis sighed, shaking his head. “I’m glad you think it was so funny.”

“Oh, babe, you were so grumpy” she teased, nudging him with her foot.

Lewis didn’t respond immediately. Instead, he just looked at her with that mix of exasperation and fondness that made it clear that, no matter what she did, she was always going to get away with it.

“What’s a song that reminds you of each other?”

This time, she didn’t even hesitate. “A Life Like This by Nao.”

Lewis’s face softened immediately. “Why that one?”

She smiled, but it wasn’t her usual teasing grin. This one was softer, more intimate. “Because... before you, I was just going through life, you know? Things were just happening, and I wasn’t really... present. Then you came along, and it was like everything shifted. It was like my Saturn return was finally over, and I could just... breathe.”

For a moment, Lewis said nothing. His face betrayed him—no amount of his typical coolness could hide the way her words hit him.

He leaned forward slightly, his hand brushing a strand of hair behind her ear. “You’re really gonna get me emotional, huh?” he murmured, his voice so low only she and the mic could pick up on his voice.

She just smiled; her eyes full of love. “That’s the plan.”

The crew exchanged looks and quiet smiles. It was impossible not to feel the connection between them, like they were watching something precious unfold right in front of them.

“What’s something you wish you did more often?”

Lewis leaned back, thinking for a moment. “Lazy mornings.”

She smiled, nodding. “Yeah?”

“Yeah” he said softly, his eyes on her. “No alarms, no schedules, no meetings. Just us. Laying in bed, talking, laughing... not worrying about what we have to do next.”

She nodded again, her smile turning wistful. “Yeah.”

Their eyes met, and once again, the room seemed to shrink around them, leaving just the two of them in their little bubble.

“Okay love birds, next up ‘What is the most treasured possession that the other has given you?’”

She paused, tapping her chin as if she really had to think about it, though the answer was clearly already on her mind. “The necklace you gave me on our third date.”

The director blinked, looking between them. “Third date?”

“Oh yeah” she nodded, leaning back in her chair, eyes sparkling as she shot Lewis a teasing look. “He was whipped by then.”

Lewis rolled his eyes, though a smile tugged at his lips. “You make it sound like I was proposing marriage.”

“You weren’t far off, though” she teased, reaching for the necklace hanging delicately around her neck. “He gave me this beautiful pendant, that he designed himself, by the way, and I remember thinking, ‘Okay, this guy is serious.’”

Lewis chuckled, scratching the back of his neck. “I knew what I wanted.”

“That you did” she teased, nudging him with her elbow.

“Yeah” he grinned. “No point in playing games.”

She looked down at the necklace again, her voice softening. “It’s not just the necklace though. It’s what it represented. He was showing me he wasn’t just there for fun—he was there for real.”

Lewis met her gaze, his smile quieter now, filled with affection. “I meant it then, and I mean it now.”

“When did you first know that you were in love?”

This time, she was the one to hesitate, a mischievous glint in her eye. “In love with whom?” she asked, biting her lip to keep from laughing.

Lewis groaned, leaning forward and pinching the bridge of his nose. “Oh, don’t start.”

She giggled, clearly enjoying every second of his exasperation. “I knew I loved you when we went through about a dozen paint stores in Milan looking for the perfect shade of gold for that painting.”

Lewis raised an eyebrow, intrigued. “Oh, didn’t remember that.”

“Yeah,” she said softly. “I could’ve just mixed the colors myself and gotten something close. But you were so invested in finding the exact match that I just... I kept going. And I knew it then. I knew I loved you because you cared about the little things, the details that most people would overlook.”

Lewis stared at her; his face unreadable. Then, slowly, he smiled—a soft, genuine smile that seemed to melt the room around them.

“What’s your favorite memory of the two of you?”

Lewis leaned back, rubbing his chin thoughtfully. “That time we missed the flight in Paris.”

She let out a groan, breaking the feeling in the room, she already knew where this story was headed. “Nooo, not that!”

“Yep,” Lewis said with a smile. “So we were in Paris, right? And someone—” he pointed at her playfully, “—was absolutely convinced that the subway would get us to the airport faster than any car could.”

“It would’ve!” she protested, already laughing. “The traffic was insane!”

“Yeah sure” he replied, his eyes twinkling with mischief. “So there we were, dragging our bumps through the subway stations, hopping from one line to the next. Every station was like a maze, and we were so lost. I kept telling you, ‘Let’s just get a cab,’ but nooo, you were determined.”

She shook her head, smiling. “It was an adventure!”

“It was chaos and we missed the flight by hours” Lewis corrected, his voice teasing but fond.

“But honestly? It’s one of my favorite memories. You were so carefree, so determined, so in the present. We were lost in Paris but we weren’t lost within ourselves.”

Her smile softened, her eyes holding his for a long moment. “You never told me that was your favorite memory.”

“Yeah” he said quietly, his voice more sincere now. “I felt like we could just... slow down. Be present. No pressure, no expectations. Just you and me.”

For a moment, they were silent, the weight of his words settling between them. The room around them was so still that the soft hum of the cameras was the only sound. The crew watched them closely, as if holding their collective breath.

She leaned over, resting her head on his shoulder, and whispered just loud enough for the microphones to catch “I think that’s my favorite memory now, too.”

Lewis smiled, pressing a soft kiss to the top of her head, and for a few seconds, it was like the cameras weren’t even there. It was just them, lost in a shared memory, a world of their own.

The director, sensing the intimacy of the moment, cleared his throat gently.

“Alright, now to wrap this up ‘When can we expect little Hamiltons running around?”

Both Lewis and his wife exchanged quick glances, and almost in unison, they burst out laughing—only this time, their laughter had a bit of an edge, like they knew something the room didn’t.

Lewis leaned back in his chair, rubbing his hands together. “Ooooh, good one.”

“You had to go there, didn’t you?” she added, her eyes wide with exaggerated innocence. “Real smooth.”

The crew, sensing the couple was playing coy, leaned in just a bit, waiting for a juicy response. But instead, Lewis leaned forward, lowering his voice as if sharing a secret. “Well, you never know, right?”

His wife smirked, glancing at him sideways, playing along. “When you least expect it”

The director, not quite satisfied, pressed on. “Any plans in the near future?”

“Oh, besides, like, tomorrow’s plans?” she quipped, keeping the teasing energy alive.

Lewis chimed in again, grinning like a Cheshire cat. “We’ve got a lot of plans. Travel, Roscoe’s bath time…”

The director chuckled, shaking his head. “Dodging the question, I see.”

Lewis gave a knowing look to the camera, adding one final, cryptic comment. “We’ll let you know when it happens... maybe.”

And with that, they both smiled at the cameras, their laughter filling the air as the director called “cut” for the final time.

The room gradually came back to life, the hum of equipment being packed up and crew members chatting quietly filling the air. The couple stayed seated, though, still caught in the gentle pull of their shared moment, almost unaware of the bustling scene around them.

Lewis exhaled slowly, his shoulders relaxing as he glanced at his wife, his arm instinctively pulling her a little closer. She smiled, still leaning into him, her head resting against his shoulder, fingers absentmindedly playing with his fingers.

“That was a bit mushy, wasn’t it?” she murmured, a teasing lilt to her voice, though there was warmth in her eyes as she gazed up at him.

Lewis smirked, brushing his thumb gently against her arm. “Just a little. But you started it.”

She chuckled softly, nuzzling into his shoulder. “Tou’re not usually one for getting all sentimental on camera.”

He shrugged lightly, but there was no real defensiveness in his posture.

She smiled, her heart swelling at the softness in his gestures. “Good. I like you better that way.”

She sighed softly, sitting up a little and stretching her arms out with a satisfied groan. “People are going to think we’re a pair of softies.”

Lewis chuckled, the sound low and rumbling in his chest. “Let them.”

She smiled, sitting back in her chair and looking at him with a tenderness that only deepened as she reached out, her hand cupping his cheek for a brief moment. “I guess it’s not the worst thing to be.”

He leaned into her touch, his eyes closing briefly before he opened them and looked straight at her. “Nah, it’s not.”

Unbeknownst to them, the cameras were still rolling—just a little, a behind-the-scenes shot meant to capture those moments of candidness. The crew tried to keep their distance, giving the couple their space, but every now and then, someone would glance over, a quiet smile tugging at their lips. There was something undeniably magnetic about Lewis and his wife, the way they moved around each other, the way they fit together.

Without thinking, he stood up and extended a hand to her, pulling her up from her seat. As she stood, she let out a small laugh, one that was soft and filled with affection. But before she could fully straighten up, Lewis slipped his arms around her waist, pulling her into his chest in a gentle, protective embrace.

For a second, she stiffened—more out of surprise than anything—but then she melted into him, wrapping her arms around his neck. It was a simple gesture, nothing extravagant, but in that moment, it was everything.

“Alright, lover boy” she murmured, her voice laced with contentment. “What’s all this about?”

“Just holding you” he replied simply, his voice low and soothing, the kind of tone he used when it was just the two of them, no audience, no pressure. “Feels like we haven’t had a minute to ourselves in forever.”

She smiled as she found her place on the crock of his neck, her fingers absently tracing circles on the back of his neck “You’ll get them,” she promised quietly. “We’ll make time.”

Eventually, Lewis pulled back slightly, just enough to look down at her, his eyes twinkling with mischief. “You know,” he started, his tone teasing “about those Timbs.”

She groaned, playfully swatting at his chest. “I thought we agreed to leave the Timbs in the past.”

“I never agreed to that” he grinned, tightening his arms around her playfully. “I’m still rocking them, remember?”

She rolled her eyes, but the smile on her face betrayed her. “Well, at least one of us has evolved.”

He laughed, pressing a soft kiss to her head. “Maybe. But you love me anyway.”

“I do,” she said softly, the sincerity of the words wrapping around them both like a warm blanket. “I really do.”

______________________________________________________________

TAGLIST - @saturnssunflower @xoscar03 @chocolatediplomatdreamerzonk @itsmrshamilton @vicurious28

@0710khj @thecubanator2 @neilakk @bigratbitchsworld @adriswrld

@fearfam69691 @cmleitora @goldenroutledge @timmychalametsstuff @jpgnsf

@priopp123 @strqirlhrts @hmmmmm-01 @bisexual-babygirl-mj @bebesobrielo @hiireadstuff

If you’d like to be added to my taglist you can leave a comment or send me a dm/ask.

[reasonsforhope]

"Democratic Gov. Andy Beshear banned the use of “conversion therapy” on minors in Kentucky on Wednesday, calling his executive order a necessary step to protect children from a widely discredited practice that tries to change a person’s sexual orientation or gender identity through counseling.

The governor used his executive powers after Republicans who control the state legislature repeatedly blocked efforts to enact a state law banning the practice. Beshear said he would no longer wait for others to “do what’s right.”

“My faith teaches me that all children are children of God,” Beshear said during the signing ceremony at the Kentucky Capitol. “And where practices are endangering and even harming those children, we must act. The practice of so-called ‘conversion therapy’ hurts our children.”

It was the latest action in a national debate over conversion therapy and the rights of LGBTQ+ children and their families.

The Kentucky event stirred many emotions. Activists for mental health and LGBTQ+ rights cheered the governor, but as he prepared to sign the ban, someone nearby shouted, “This is a denial of affirmation therapy!” Supporters drowned out the protest.

Among those in attendance was Zach Meiners, a 34-year-old filmmaker who said he wants young people to be spared the anguish and harm he endured during four years of therapy as a teenager, which caused him “anxiety and depression in ways that I’m still unraveling.”

“I can speak firsthand to how devastating it can be to someone’s mental health,” Meiners said in an interview. “And I consider myself very lucky to be a survivor.” ...

Nearly half the states and the District of Columbia prohibit conversion therapy on minors, Beshear’s office said. In Kentucky, 21% of LGBTQ young people reported being threatened with or subjected to conversion therapy, according to the Trevor Project, a suicide prevention and crisis intervention organization for LGBTQ+ young people."

-via AP News, September 18, 2024

--

Note: That last paragraph puts in perspective for me just how far we've come, even amongst all the hate. Fifteen years ago, not a single state banned conversion therapy for minors. Ten years ago, only two states banned conversion therapy. As of this law, 24 states now ban conversion therapy for minors, plus DC, with another three having some restrictions on the process.

I remember how amazed and relieved I was, when my state (California) became the second state ever to ban conversion therapy for minor in 2012. Now those protections apply to almost half of the states, and probably well over half the US population (I'm too tired to do the math but blue states tend to have significantly more people.)

They can't close the barn doors on this. It's too late. We're already out the door, and our rights are breaking out alongside us more and more every year.

[shhhhimwatchingthis]

Interview With the Vampire is like...

Here is our protagonist hes going to tell you a story. But some of it he's remembered wrong -- was it raining that night? And some of it he's obfuscating or skirting or deliberately lying about. He's admitted the first time he tried to tell this story was a performance. Also he hallucinates, sometimes. Oh, and there are characters who can erase and alter memories. When does he mix up a detail? When is he lying? When is he telling what he thinks is the truth but he's just wrong or being lied to himself?

Here's Claudia's diaries. The written word, in her own words. Surely we can trust them! Except she knew her diaries were being read by her fathers/brothers/jailors. She had reason to present her life in a certain way in those writings, reasons to not write down everything. And same as any other person,even if she was writing the truth, she was limited by her perspective of what that was. Here are her diaries but some of the pages have been ripped out, censored by other people.

Here is Rashid. Except no, he's really the vampire Armand. He can erase memories. He was pretending to be someone else. His name was never Rashid. It isn't really Armand either, he doesn't even know his own name, or all of his own story, Armand will do.

Here is Real Rashid. Even Rashid isn't what he appears to be. He works for a shadowy organization.

Here is Daniel Malloy, our journalist, our interviewer. It is his job to ask questions, provide evidence reveal the truth. But even he can't trust his own altered memories. He has time he can't account for, gaps in his memories from years of drug abuse and one bad trip from a week of drug AND vampire abuse. He is not an objective observer, he too is a part of the story he is trying to tell.

Here is Lestat de Lioncourt. Except not really. maybe once at the end. Here he is through memories, and other peoples stories and hearsay. Here is the seducer, the boogieman, the abuser, the victim, the Vampire. He haunts the narrative, and starts the narrative, and is, in many ways, the bleeding heart of the tragic narrative and he never tells his own story in his own words.

Here is a trial. Except its a play--prewritten, rehearsed! the accused can barely speak for themselves. The audience has no choice but to laugh along to the story being shoved down their throats. its only a story. You can see the fake limp rope, when that one vampire 'flies' - its all pretend, its all a show...right?

[art]

Creator Spotlight: @themetalhiro

Hi, I’m Metal! I’m a freelance artist from good ol’ New Jersey. My favorite things to work with are a lot of bright colors, exaggerated poses, and candid scenarios. I try to farm sensible chuckles whenever I can, so I’m also big into comics. I love making them about my life, and the media I’m into, and one day I’d like to publish my own series!  Thank you to everyone who has gotten me this far!!

Check out Metal's interview below!

Did you originally have a background in art? If not, how did you start?

I guess so! It’s funny, I don’t remember a single time in my life that I wasn’t drawing as a hobby… somewhere in middle school (a little late, I know.) I put the pieces together that animated movies were made by artists, and that it wasn’t just for fun, they were paid to do it. The moment I discovered people could be paid to make art, I decided I would do that, too. Now I’m here!

How has your style developed over the years?

I think the best way to answer this would be with an example! Over the last few years, I have made more of an effort to draw more intentionally, which sounds silly. Now, I put more thought into my poses and step out of my comfort zone with shape language and composition. I had a phase where I drew everyone with a huge, perfectly circular head and no nose. That definitely did not lend much variety...

Which 3 famous artists (dead or alive) would you invite to your dinner party?

Ack! I’m so terrible at history! I’d love to give a well-thought-out answer about fine artists of old, but I don't think we’d have much in common… Most artists I admire and who have driven me forward creatively are the people behind comics I’ve read. Andrew Hussie, Bryan Lee O’Malley, Eiichiro Oda... these guys have inspired me greatly and had a heavy influence in developing my art style and sense of humor. I’d love to ask them questions about their processes and upcoming projects. I think it would make for an entertaining night!

Over the years as an artist, what were your biggest inspirations behind your creativity?

Outside of pure aesthetics like searing bright colors, layered clothing, and loud noises…. the best and most inspiring moments in my life were those surrounded by friends and loved ones! I cherish the hell out of memories of hanging around in fun locations, trying weird food together, and impromptu midnight walks... so I try my best to capture that atmosphere and my own memories in my work when I can, even if I’m imposing fictional characters on top of them. That’s always the core of it.

What is a medium that you have always been intrigued by but would never use yourself?

I would never permanently refuse a medium, but every time I pick up clay, I’m like a baby using its hands for the first time. Absolutely dreadful. If one day I could make and paint a figurine like the ones I admire in videos, that would be awesome... But for now, I’m not counting on it.

How do you want to evolve as a creator?

I’ve had an absolute blast drawing fanart over the years, and it’s certainly played a massive role in my growth as an artist. But my dream has always been to publish my own stories for y'all to enjoy! I have lots of worlds I want to introduce to you before I’m old and gray. I want to get faster, work harder, and get better at drawing interesting settings so I can get the wheels turning as soon as possible. I also want to stop avoiding the color blue like a coward.

What do you wish you knew when you first started out creating art that you know now?

Pay your taxes quarterly. Tablets will break at the exact moment you need them most, so have a spare. Wear your blue light glasses. You’re going to need to wear a brace on every joint on the right side of your body. It can be lonely sitting at your desk all day. The car on the side of the road that costs $1000 cash….. don’t trust it!!!

Who on Tumblr inspires you and why?

@cranity—They use absolutely beautiful colors and weighty line work. Everything looks so sharp and clean! I wanna put it all up on my wall!

@vewn—Their ability to crank out quality short films and illustrations packed with detail is incredible. The off-kilter perspective they use really sells disorientation and catches your attention like nothing else.

@nelnal—They have absolutely banger character designs again and again, I can’t believe one person’s mind can come up with so many creative ideas!

@jinx88kc—They have a beautiful and recognizable style, and the way they incorporate animation into their illustrations sometimes is SO cool!

Thanks for stopping by, Metal! For more of Metal’s work, follow their Tumblr, @themetalhiro! If you haven't seen their Meet the Artist piece, be sure to check it out here!

[ilydeku]

izuku loves to talk about you during interviews

- anything and every topic it will ALWAYS be about you

- the question won't even be remotely related to you and still izukus answer will revolve around "y/n, my wife!!" <3

- oh, the glint in his eyes, the peaking smile when he speaks about you, lover boyyy

- the media knows he LOVE LOVES you, they think it's funny for this big, confident, mighty hero to be reduced to sap when it comes to you

- it's like his whole is personality is HIS WIFE

- the journalists lowkey get so SICK of him for this, they don't want to invite him anymore 😭

- but they kinda have to, due to to his status as #1

"Good evening everyone and welcome Hero Talk! Tonight we'll be staring someone you all know and love, single handedly the greatest hero of all time, Deku! Alright, Deku how are you tonight?"

"Feeling pretty good! This is one of my wife's favorite shows, so I'm even more grateful to be here. And how are you?"

"Oh, same old. Really, just living. Now, we wanted to ask you some fun questions. Let's start with this one. Why did you want to become a hero?"

"Wow, haha! That really brings be back to my youth. When I was kid, my biggest influence was All Might, and he miraculously became my mentor. He was a good hero, and a good man. I wanted to be just like him: fearless, persevering, saving people with I smile. I would beg my mom everyday to watch this video on the computer of him saving a bunch a people. I was really swayed by All Might. I wanted to become a hero to make an impact in the world. I wanted to save people with a smile too."

"That sounds really endearing, Deku. I remember All Might's reign. He wasn't number one on the top charts all those years for nothing. So, did you ever think you'd be standing as Japan's top hero?"

"Well, it was never really my goal to become number one. That was Kacchan's- Dynamight's. My dream was, like I said, to become a hero and save others. But I have to say, it really is a blessing. I'd like to thank my Mom, All Might, my friends, and especially my wife for who I've become. My Mom has really done a lot for me growing up: protecting, encourage, and just always caring for me. All Might has kinda been that father figure for me when my Dad was away. My friends have shown me what it's like to work together and really be part of a heart. And my wife? Haha...I can't thank her enough for all the times she's been right by my side, even before we were together. Nothing I can say or do will ever be enough to express how much she means to me."

"Mm. Quite the supportive group. Your wife sounds like quite the lady!"

"She is. She's wonderful."

"Moving on to the next question, do you use social media often?"

"Occasionally, yes?? My wife uses it regularly, posting about us when we go out and stuff. It's mostly for her family to see how she's doing. She handles most of my official accounts. She says it's to be more appealing to the public, and I guess to show that there's more to heroes on the inside?? I'm not really sure, but I trust her process. Although, I'd rather be appealing to her alone."

"The public will always interested in a hero's private life! Now, Deku, what is your ideal setting of relaxation?"

"My wife doesn't like places that are too crowded or noisy, so maybe a cozy day at the beach?- but early in the morning or in the evening when the crowds calm down. Maybe a movie theatre, but days after the movie is released so it's just us together. Actually, a lazy day at home together is great too! Cooking meals and watching a movie on the couch? Really, any place is relaxing if my wife is with me."

(am i questioning Deku's wife or Deku!?) "How scenic! Those sound very fitting for you!! How about any restaurants?"

"Not really. My wife really knows how to cook, it's amazing! I love her home-cooked meals, so there's no way I'd go out of my way to a restaurant. But if my wife is feeling it, I'll be sure to make reservations."

"(sigh)"

"(smiling warmly)"